12H x 5W x 1D inches; 10H x 4W x 1D inches
Martinez’s sculpture A meditation on the possibility… of romantic love or where you goin’ with that gun in your hand , Bobby Seale and Huey Newton discuss the relationship between expressionism and social reality in Hitler’s painting depicts the legendary Black Panther leaders Huey P. Newton and Bobby Seale. By using Carrara marble, a material usually associated with heroic public sculptures, Martinez casts the history of African-American revolutionaries into the artistic tradition of monumentality. Like the artist’s earlier work included in the 1993 Whitney Biennial, an interactive piece made up with pins that read, “I CAN’T IMAGINE EVER WANTING TO BE WHITE,” A meditation on the possibility… continues Martinez’s effort to expose cultural contradictions and increase public awareness.
For more than three decades, the Los Angeles–based artist Daniel Joseph Martinez has used every art medium at his disposal to investigate raw aspects of American culture, dipping adeptly into derangements of body and brain, individual and society. In one well-known piece that he produced for the 1993 Whitney Biennial, he replaced the text on the museum’s admission ticket with the phrase “I Can’t Ever Imagine Wanting to Be White.” Visitors held the sentiment in their hands and kept it in their pockets. In The House America Built (2004), he re-created in exacting detail the cabin in which the Unabomber penned his manifesto. While Martinez’s concepts are tight and concise, they leave ample space to implicate the viewer. His work prompts more than finger pointing; it catalyzes introspection, signaling the necessity of taking stock of one’s own role in perpetuating difficult yet ubiquitous images.
These hand drawn maps are part of an ongoing series begun in 2008 in which Gupta asks ordinary people to sketch outlines of their home countries by memory...
Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...
Haendel’s series Knights (2011) is a set of impeccably drafted, nine-foot-tall pencil drawings depicting full suits of armor...
The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...
Hill of Poisonous Trees (three men) (2008) exemplifies the artist’s signature photo-weaving technique, in which he collects diverse found photographs—portraits of anonymous people, stills from blockbuster films, or journalistic images—cuts them into strips, and weaves them into new composition...
The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...
In the work titled The Glossies (1980), an affinity for photography manifested itself before McCollum actually began to use photography as a medium...
The three monkeys in Don’t See, Don’t Hear, Don’t Speak are a recurring motif in Gupta’s work and refer to the Japanese pictorial maxim of the “three wise monkeys” in which Mizaru covers his eyes to “see no evil,” Kikazaru covers his ears to “hear no evil,” and Iwazaru covers his mouth to “speak no evil.” For the various performative and photographic works that continue this investigation and critique of the political environment, Gupta stages children and adults holding their own or each other’s eyes, mouths and ears...
Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...
Oliver Laric’s video Versions is part of an ongoing body of work that has continued to evolve and mutate over time...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
The White Album (2008) presents a compilation of one hundred issues of Artforum magazine released between 1970 and 1979...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
Douglas Gordon’s single-channel video The Left Hand Can’t See That The Right Hand is Blind, captures an unfolding scene between two hands in leather gloves—at first seemingly comfortable to be entwined, and later, engaged in a struggle...
Some Dead Don’t Make a Sound (Hay muertos que no hacen ruido) is a single-channel video by Claudia Joskowicz that features the Mexican legend of the Weeping Woman (La Llorona) as its main protagonist...